Architectural Graphics [4 ed.] 9780471209065, 9780471209065

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ARCHITECTURAL GRAPHICS Fourth Edition 00AG IV FM 4/8/02 11:04 AM Page i 00AG IV FM 4/8/02 11:04 AM Page ii

ARCHITECTURAL GRAPHICS Fourth Edition

Francis D. K. Ching JOHN WILEY & SONS, INC. 00AG IV FM 4/8/02 11:04 AM Page iii

This book is printed on acid-free paper. Copyright © 2003 by Francis D. K. Ching. All rights reserved. Published by John Wiley & Sons, Inc., New York. Published simultaneously in Canada. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning or otherwise, except as permitted under Section 107 or 108 of the 1976 United States Copyright Act, without either the prior written permission of the Publisher, or authorization through payment of the appropriate per-copy fee to the Copyright Clearance Center, 222 Rosewood Drive, Danvers, MA 01923, (978) 750-8400, fax (978) 750-4744. Requests to the Publisher for permission should be addressed to the Permissions Department, John Wiley & Sons, Inc., 605 Third Avenue, New York, NY 10158-0012, (212) 850-6011, fax (212) 850-6008, E-Mail: PERMREQ @ WILEY.COM. This publication is designed to provide accurate and authoritative information in regard to the subject matter covered. It is sold with the understanding that the publisher is not engaged in rendering professional services. If professional advice or other expert assistance is required, the services of a competent professional person should be sought. Wiley also publishes its books in a variety of electronic formats. Some content that appears in print may not be available in electronic books. For more information about Wiley products, visit our web site at www.wiley.com. Library of Congress Cataloging-in-Publication Data: Ching, Frank, 1943– Architectural graphics / Francis D. K. Ching.—4th ed. p. cm. Includes index. ISBN 0–471–20906-6 1. Architectural drawing. I. Title NA2700 .C46 2002 720' .28'4—dc21

2002004490 Printed in the United States of America. 10 9 8 7 6 5 4 3 2 1 ∞

00AG IV FM 4/22/02 1:44 PM Page iv

CONTENTS

Preface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .vii 1 Drawing Tools & Materials . . . . . . . . . . . . . .1 2 Architectural Drafting . . . . . . . . . . . . . . . . .13 3 Architectural Drawing Systems . . . . . . . . . .23 4 Multiview Drawings . . . . . . . . . . . . . . . . . .37 5 Paraline Drawings . . . . . . . . . . . . . . . . . . . .73 6 Perspective Drawings . . . . . . . . . . . . . . . . .87 7 Rendering Tonal Values . . . . . . . . . . . . . . .125 8 Rendering Context . . . . . . . . . . . . . . . . . . .157 9 Architectural Presentations . . . . . . . . . . . .171 10 Freehand Drawing . . . . . . . . . . . . . . . . . . .185 Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .211 00AG IV FM 4/8/02 11:04 AM Page v 00AG IV FM 4/8/02 11:04 AM Page vi

PREFACE PREFACE / VII

The first edition of this text introduced students to the range of graphic tools, techniques, and conventions designers use to communicate architectural ideas. The prime objective behind its original formation and subsequent revisions was to provide a clear, concise, and illustrative guide to the creation and use of architectural graphics. While retaining the clarity and visual approach of the earlier editions, this fourth edition of Architectural Graphics incorporates several significant changes. The tactile, kinesthetic process of crafting lines on a sheet of paper with a pen or pencil is the most sensible medium for learning the graphic language of drawing. Chapters 1 and 2, therefore, remain introductions to the essential tools and techniques of drawing and drafting by hand. However, this text, in its explanations and examples, acknowledges the unique opportunities and challenges digital technology offers in the production of architectural graphics. Whether a drawing is executed by hand or developed with the aid of a computer, the standards and judgments governing the effective communication of design ideas in architecture remain the same. Another change is the division of the original lengthy chapter on architectural drawing conventions into four separate chapters. Chapter 3 now serves as an introduction to the three principal systems of pictorial representation— multiview, paraline, and perspective drawings—and analyzes in a comparative manner the unique viewpoints and advantages afforded by each system.

Chapters 4, 5, and 6 then focus on the principles governing the conventions and uses of each of the three drawing systems. The language of architectural graphics relies on the power of a composition of lines to convey the illusion of a three-dimensional construction or spatial environment on a two-dimensional surface, be it a sheet of paper or a computer screen. Although the line is the quintessential element of all drawing, Chapter 7 demonstrates techniques for creating tonal values and develops strategies for their use in enhancing the pictorial depth of architectural drawings. Chapter 8 extends the role of rendering to defining scale and establishing context in the drawing of design proposals. Chapter 9 continues to examine the fundamental principles of graphic communication and illustrate the strategic choices available in the planning and layout of architectural presentations. Incorporated into this discussion is the original chapter on lettering and graphic symbols, which are informative and essential elements to be considered in preparing any presentation. 00AG IV FM 4/8/02 11:04 AM Page vii

PREFACE VIII / PREFACE

Drawing with a free hand holding a pen or pencil remains the most direct and intuitive means we have for recording our observations and experiences, thinking through ideas, and diagramming design concepts. Chapter 10 therefore includes additional instruction on freehand sketching and diagramming, and occupies a terminal position to reflect its importance as a graphic skill and design tool. Despite these incremental changes, the fundamental premise of this text endures—drawing has the power to overcome the flatness of a two-dimensional surface and represent three-dimensional ideas in architecture in a clear, legible, and convincing manner. To unlock this power requires the ability both to execute and to read the graphic language of drawing. Drawing is not simply a matter of technique; it is also a cognitive act that involves visual perception, judgment, and reasoning of spatial dimensions and relationships. 00AG IV FM 4/8/02 11:04 AM Page viii

1 Drawing Tools & Materials This chapter introduces the pencils and pens necessary for inscribing lines, the instruments available for guiding the eye and hand while drawing, and the surfaces suitable for receiving the hand-drawn lines. While digital technology continues to augment and enhance this traditional drawing toolkit, hand drawing with a pen or pencil remains the most direct and versatile means of learning the language of architectural graphics. 01AG IV 1 4/9/02 8:57 AM Page 1

DRAWING PENCILS 2 / ARCHITECTURAL GRAPHICS

Pencils are relatively inexpensive, quite versatile, and uniquely responsive to pressure while drawing. Lead Holders

• Lead holders employ standard 2 mm leads. • The push-button action of a clutch mechanism allows the exposed length of the lead shaft to be adjusted or withdrawn when the pencil is not in use. • The lead point, which is capable of a variety of line weights, must be kept well sharpened with a lead pointer. Mechanical Pencils

• Mechanical pencils utilize 0.3 mm, 0.5 mm, 0.7 mm, and 0.9 mm leads. • A push-button mechanism advances the lead automatically through a metal sleeve. This sleeve should be long enough to clear the edges of drafting triangles and straightedges. • The relatively thin leads of mechanical pencils do not require sharpening. • 0.3 mm pencils yield very fine lines, but the thin leads are susceptible to breaking if applied with too much pressure. • 0.5 mm pencils are the most practical for general drawing purposes. • 0.7 mm and 0.9 mm pencils are useful for sketching and writing; avoid using these pencils to produce heavy line weights. Wood-Encased Pencils

• Wooden drawing pencils are typically used for freehand drawing and sketching. If used for drafting, the wood must be shaved back to expose 3/4" of the lead shaft so that it can be sharpened with sandpaper or a lead pointer. All three styles of pencils are capable of producing quality line drawings. As you try each type out, you will gradually develop a preference for the characteristic feel, weight, and balance of a particular instrument as you draw. 01AG IV 1 4/9/02 8:57 AM Page 2

DRAWING LEADS DRAWING TOOLS & MATERIALS / 3

Recommendations for Grades of Graphite Lead 4H

• This dense grade of lead is best suited for accurately marking and laying out light construction lines. • The thin, light lines are difficult to read and reproduce and should therefore not be used for finish drawings. • When applied with too much pressure, the dense lead can engrave paper and board surfaces, leaving grooves that are difficult to remove. 2H

• This medium-hard lead is also used for laying out drawings and is the densest grade of lead suitable for finish drawings. • 2H lines do not erase easily if drawn with a heavy hand. F and H

• These are general-purpose grades of lead suitable for layouts, finish drawings, and handlettering. HB

• This relatively soft grade of lead is capable of dense linework and handlettering. • HB lines erase and print well but tend to smear easily. • Experience and good technique are required to control the quality of HB linework. B

• This soft grade of lead is used for very dense linework and handlettering. The texture and density of a drawing surface affect how hard or soft a pencil lead feels. The more tooth or roughness a surface has, the harder the lead you should use; the more dense a surface is, the softer a lead feels. Graphite Leads

Grades of graphite lead for drawing on paper surfaces range from 9H (extremely hard) to 6B (extremely soft). Given equal hand pressure, harder leads produce lighter and thinner lines, whereas softer leads produce denser, wider lines. Colored Leads

Nonphoto blue leads are used for guidelines that will not reproduce on photocopiers. Nonprint violet leads produce guidelines that will not reproduce on diazo machines; the lines,

however, may print on photocopy machines. Test prints are therefore always advisable when using either nonphoto or nonprint leads. Plastic Leads

Specially formulated plastic polymer leads are available for drawing on drafting film. Grades of plastic lead range from E0, N0, or P0 (soft) to E5, N5, or P5 (hard). The letters E, N, and P are manufacturer’s designations; the numbers 0 through 5 refer to degrees of hardness. 01AG IV 1 4/9/02 8:57 AM Page 3

TECHNICAL PENS 4 / ARCHITECTURAL GRAPHICS

Technical pens are capable of producing precise, consistent ink lines without the application of pressure. As with lead holders and mechanical pencils, technical pens from different manufacturers vary in form and operation. Most technical pens, however, utilize an ink-flow-regulating wire within a tubular nib, the size of which determines the width of the ink line. There are a dozen point sizes available, from extremely fine (6 x 0, equivalent to 0.13 mm) to very wide (7, equivalent to 2 mm). Stainless-steel tips are satisfactory for drawing on vellum but wear too quickly on drafting film. Tungsten or jewel tips are required for drafting on film. A starting pen set should include the following point sizes: • 4 x 0 0.18 mm line width • 0 0.35 mm line width • 1 0.50 mm line width • 3 0.80 mm line width • The tubular point should be long enough to clear the thickness of drafting triangles and straightedges. • Use waterproof, nonclogging, fast-drying black drawing ink. • Keep points screwed in securely to prevent ink leaking. • After each use, replace the pen cap firmly to prevent the ink from drying. • When pens are not in use, store them with their tips up. Digital Stylus

The digital equivalent of the pen and pencil is the stylus. Used with a digitizing tablet and appropriate software, it replaces the mouse and enables the user to draw in a freehand manner. Some models and software are able to detect and respond to the amount of hand pressure to mimic more realistically the effects of traditional media. 01AG IV 1 4/9/02 8:57 AM Page 4

T-SQUARES & PARALLEL RULES

DRAWING TOOLS & MATERIALS / 5

T-Squares

T-squares are straightedges that have a short crosspiece at one end. This head slides along the edge of a drawing board as a guide in establishing and drawing straight parallel lines. T-squares are relatively low in cost and portable but require a straight and true edge against which their heads can slide. • This end of a T-square is subject to wobbling. Parallel Rules

Parallel rules are equipped with a system of cables and pulleys that allows their straightedges to move across a drawing board only in a parallel manner. Parallel rules are more expensive and less portable than T-squares but enable one to draft with greater speed and accuracy. • T-squares are available in 18", 24", 30", 36", 42", and 48" lengths. 42" or 48" lengths are recommended. • A metal angle secured to the drawing board can provide a true edge. • Use this length of the straightedge. • T-squares with clear, acrylic straightedges should not be used for cutting. Metal T-squares are available for this purpose. • Rollers enable the parallel rule to move freely across a drawing surface. • Transparent, acrylic edges are recommended for better visibility while drawing lines. Some models are available with metal cutting edges. • Parallel rules are available in 30", 36", 42", 48", 54", and 60" lengths. The 48" length is recommended. 01AG IV 1 4/9/02 8:57 AM Page 5

TRIANGLES 6 / ARCHITECTURAL GRAPHICS

Triangles are drafting aids used to guide the drawing of vertical lines and lines at specified angles. They have a right angle and either two 45° angles or one 30° and one 60° angle. • 4" to 24" lengths are available. • 8" to 10" lengths are recommended. • Small triangles are useful for crosshatching small

areas and as a guide in handlettering. See page 180. • Larger triangles are useful in constructing perspectives. • The 45°–45° and 30°–60° triangles can be used in combination to produce angular increments of 15°. See page 19. • Triangles are made of clear, scratch-resistant, nonyellowing acrylic to allow a transparent, undistorted view through to the work below. Fluorescent orange acrylic triangles are also available for greater visibility on the drafting surface. • Machined edges should be polished for precision and to facilitate drawing. Some triangles have raised edges for inking with technical pens. • Inner edges may be beveled to serve as finger lifts. • Keep triangles clean by washing with a mild soap and water. • Triangles should not be used as a straightedge for cutting materials. Adjustable Triangles

Adjustable triangles have a movable leg that is held in place with a thumbscrew and a scale for measuring angles. These instruments are useful for drawing such inclined lines as the slope of a stair or the pitch of a roof. 45° 45° 90° 30° 60° 90° 01AG IV 1 4/9/02 8:57 AM Page 6

TEMPLATES DRAWING TOOLS & MATERIALS / 7

Templates have cutouts to guide the drawing of predetermined shapes. Electronic Templates

Drawing and CAD programs include electronic templates of geometric shapes, furnishings, fixtures, as well as user-defined elements. The purpose of physical and electronic templates remains the same— to save time when drawing repetitive elements. A significant advantage of CAD programs is their ability to have a symbol represent all instances of a graphic element or object in a drawing or design, such as the dimensions of a window opening or a unit plan in a housing project. Any change made to the definition or

attributes of that symbol automatically updates all instances of it throughout a drawing or design project. • Circle templates provide a graduated series of circles commonly based on fractions and multiples of an inch. Metric sizes are also available. • The actual size of a cutout differs from the drawn size due to the thickness of the lead shaft or pen tip. • Some templates have dimples to raise them off of the drawing surface while inking. • Templates are available for drawing other geometric shapes, such as ellipses, as well as symbols for plumbing fixtures and furnishings at various scales. 01AG IV 1 4/9/02 8:57 AM Page 7

COMPASSES 8 / ARCHITECTURAL GRAPHICS

The compass is essential for drawing large circles as well as circles of indeterminate radii. • It is difficult to apply pressure when using a compass. Using too hard a grade of lead can therefore result in too light of a line. A softer grade of lead, sharpened to a chisel point, will usually produce the sharpest line without undue pressure. A chisel point dulls easily, however, and must be sharpened often. • An attachment allows technical pens to be used with a compass. • Even larger circles can be drawn by appending an extension arm or using a beam compass. • A variety of French curves are manufactured to guide the drawing of irregular curves. • Adjustable curves are shaped by hand and held in position to draw a fair curve through a series of points. • Protractors are semicircular instruments for measuring and plotting angles. 01AG IV 1 4/9/02 8:58 AM Page 8

ERASERS & CLEANING AIDS DRAWING TOOLS & MATERIALS / 9

Erasers

One of the advantages of drawing with a pencil is the

ability to easily erase pencil marks. Always use the softest eraser compatible with the medium and the drawing surface. Avoid using abrasive ink erasers. • Vinyl or PVC plastic erasers are nonabrasive and will not smear or mar the drawing surface. • Some erasers are saturated with erasing fluid to erase ink lines from paper and drafting films. • Liquid erasing fluid removes pencil and ink markings from drafting film. • Electric erasers are very convenient for erasing large areas and ink lines. Compact, battery-operated models are especially handy. Other Aids

• Drafting brushes help keep the drawing surface clean of erasure fragments and other particles. • Soft, granular drafting powder is available that provides a temporary protective coating over drawings during drafting, picks up pencil lead dust, and keeps the drawing surface clean. If used too heavily, the powder can cause lines to skip, so use sparingly, if at all. • Pounce powder may be used to prepare drawing surfaces for inking. Erasing Shields

Erasing shields have cutouts of various shapes and sizes to confine the area of a drawing to be erased. These thin stainlesssteel shields are especially effective in protecting the drawing surface while using an electric eraser. Ones that have squarecut holes allow the erasure of precise areas of a drawing. 01AG IV 1 4/9/02 8:58 AM Page 9

SCALES 10 / ARCHITECTURAL GRAPHICS

In drawing, “scale” refers to a proportion determining the relation of a representation to the full size of that which is represented. The term also applies to any of various instruments having one or more sets of precisely graduated and numbered spaces for measuring, reading, or transferring dimensions and distances in a drawing. Architect’s Scales

An architect’s scale has graduations along its edges so that scale drawings can be measured directly in feet

and inches. • Triangular scales have 6 sides with 11 scales, a full-size scale in 1/16" increment, as well as the following architectural scales: 3/32", 3/16", 1/8", 1/4", 1/2", 3/8", 3/4", 1", 1-1/2", and 3" = 1'-0". • Flat-beveled scales have either 2 sides with 4 scales or 4 sides with 8 scales. • Both 12" and 6" lengths are available. • Scales should have precisely calibrated graduations and engraved, wear-resistant markings. • Scales should never be used as a straightedge for drawing lines. • To read an architect’s scale, use the part of scale graduated in whole feet and the division of a foot for increments smaller than a foot. • The larger the scale of a drawing, the more information it can and should contain. • 1/8" = 1'-0" • 1/4" = 1'-0" • 1/2" = 1'-0" 01AG IV 1 4/9/02 8:58 AM Page 10

SCALES DRAWING TOOLS & MATERIALS / 11

Engineer’s Scales

An engineer’s scale has one or more sets of graduated and numbered spaces, each set being divided into 10, 20, 30, 40, 50, or 60 parts to the inch. Metric Scales

Metric scales consist of one or more sets of graduated and numbered spaces, each set establishing a proportion of one millimeter to a specified number of millimeters. • Common metric scales include the following: 1:5, 1:50, 1:500, 1:10, 1:100, 1:1000, 1:20, and 1:200 Digital Scale

In traditional drawing, we think in real-world units and use scale to reduce the size of the drawing to a manageable size. In digital drawing, we actually input information in real-world units, but we should distinguish between the size of the image seen on a monitor and the scale of the output from a printer or plotter.

• 1" = 10' • 1" = 100' • 1" = 1000' 01AG IV 1 4/9/02 8:58 AM Page 11

Drafting Film

Drafting film is a clear polyester film that is durable, dimensionally stable, and translucent enough for clear reproductions and overlay work. • Drafting film is 3 to 4 mil thick and available in rolls or cut sheets. • One or both sides may have a nonglare, matte finish suitable for pencil or ink. • Use only with compatible leads, inks, and erasers. • Ink lines are removable with erasing fluid or a vinyl eraser saturated with erasing fluid. • Drafting tape or dots are required to fix a sheet of vellum or film to the drawing board. Do not use normal masking tape, which can tear the paper surface upon removal. PAPER, FILM & BOARDS 12 / ARCHITECTURAL GRAPHICS

The transparency of tracing papers and films makes them effective for overlay work, allowing the selective drawing or tracing on one sheet and the ability to see through to an underlying drawing. Tracing Papers

Tracing papers are characterized by transparency, whiteness, and tooth or surface grain. Fine-tooth papers are generally better for inking, whereas medium-tooth papers are more suitable for pencil work. Sketch-Grade Tracing Paper

• Inexpensive, lightweight tissue is available in white, cream, and yellow or buff colors in rolls 12", 18", 24", 30", and 36" wide. • Lightweight trace is used for freehand sketching, overlays, and studies. • Use only soft leads or markers; hard leads can tear the thin paper easily.

Vellum

• Vellum is available in rolls, pads, and individual sheets in 16, 20, and 24 lb. weights. • Mediumweight 16 lb. vellum is used for general layouts and preliminary drawings. • 16 or 20 lb. vellum with 100% rag content is a stable, translucent, and erasable paper used for finished drawings. • Vellum is available with nonreproducible blue square grids, subdivided into 4 x 4, 5 x 5, 8 x 8, or 10 x 10 parts to the inch. • CAD and 3D-modeling programs have the ability to organize sets of information in different layers. While these levels or categories can be thought of and used as the digital equivalent of tracing paper, they offer more possibilities for manipulating and editing the information they contain than do the physical layers of tracing paper. And once entered and stored, digital information is easier to copy, transfer, and share than traditional drawings. Illustration Boards

Illustration boards have a paper facing laminated to a cardboard backing. • Illustration boards are available in single (1/16" thick) and double (3/32" thick) thicknesses. • 100% rag paper facings are recommended for finish presentations. • Coldpress boards have a degree of texture for pencil work; hotpress boards have relatively smooth surfaces more suitable for inking. • Some brands of illustration boards have white facing papers bonded to a middle core of white stock. Cut edges are therefore consistently white in color, making them useful for constructing architectural models. • The opacity of illustration boards requires that drawings be laid out directly on the board surface.

The following may be used to cover drawing boards: • Vinyl covers provide a smooth, even drawing surface; tack holes and cuts heal themselves. • Cellulose acetate film laminated to a tough paper base provides a smooth, nonglare surface. • A dense, white illustration board provides an inexpensive drawing surface. 01AG IV 1 4/9/02 8:58 AM Page 12

2 Architectural Drafting Drafting—drawing with the aid of straightedges, triangles, templates, compasses, and scales—is the traditional means of creating architectural graphics and representation, and it remains relevant in an increasingly technical world. Drawing a line with a pen or pencil incorporates a kinesthetic sense of direction and length, and is a tactile act that feeds back into the mind in a way that reinforces the structure of the resulting graphic image. This chapter describes techniques and pointers for drafting lines, constructing geometric figures and shapes, and performing such operations as subdividing a given length into a number of equal parts. Understanding these procedures will result in more efficient and systematic representation of architectural and engineering structures; many are often useful in freehand sketching as well. 02AG IV 2 4/9/02 9:01 AM Page 13

DRAWING LINES 14 / ARCHITECTURAL GRAPHICS

The quintessential element of architectural drawing is the line, the mark a pen or pencil leaves as it moves across a receptive surface. Controlling the pen or pencil is the key to producing good line quality and proper line weights. • Draw with a relaxed hand; do not squeeze the pencil or pen too hard. • Hold the pen or pencil a couple of inches back from the nib or point; do not hold the instrument too close to the nib or point. • Control the movement of your pen or pencil with your arm and hand, not just with your fingers. • Pull the pen or pencil as you draw; do not push the shaft of the instrument as you would a cue stick. • Look ahead to where the line is headed. • Drawing with a pen or pencil is not only a visual experience, it is also a tactile one in which you should feel the surface of the paper, film, or illustration board as you draw. Further, it is a kinesthetic act wherein the movements of the hand and eye correspond to the line produced. • There is a similar, but less direct, correspondence when drawing with a mouse or a stylus on a digitizing tablet, but no such parallel spatial action occurs when entering the coordinates of a line on a keyboard.

• Starting point: 3, –2, 0 • Ending point: 17, 7, 0 02AG IV 2 4/9/02 9:01 AM Page 14

LINE TYPES ARCHITECTURAL DRAFTING / 15

All lines serve a purpose in drawing. It is essential that, as you draw, you understand what each line represents, whether it be an edge of a plane, a change in material, or simply a construction guideline. The following types of lines, typically used to make architectural graphics easier to read and interpret, are categorized according to their geometric patterns. • Solid lines delineate the form of objects, such as the edge of a plane or the intersection of two planes. The relative weight of a solid line varies according to its role in conveying depth. See pages 42, 58, 70, and 81. • Dashed lines, consisting of short, closely spaced strokes, indicate elements hidden or removed from our view. • Centerlines, consisting of thin, relatively long segments separated by single dashes or dots, represent the axis of a symmetrical object or composition. • Grid lines are a rectangular or radial system of light solid lines or centerlines for locating and regulating the elements of a plan. • Property lines, consisting of relatively long segments separated by two dashes or dots, indicate the legally defined and recorded boundaries of a parcel of land. • Break lines, consisting of relatively long segments joined by short zigzag strokes, are used to cut off a portion of a drawing. • Utility lines consist of relatively long segments separated by a letter indicating the type of utility. • CAD programs usually permit line types to be selected from a menu of options. 02AG IV 2 4/9/02 9:01 AM Page 15

LINE WEIGHTS 16 / ARCHITECTURAL GRAPHICS

In theory, all lines should be uniformly dense for ease of readability and reproduction. Line weight is therefore primarily a matter of width or thickness. While inked lines are uniformly black and vary only in width, pencil lines can vary in both width and tonal

value, depending on the hardness of the lead used, the tooth and density of the surface, and the speed and pressure with which you draw. Strive to make all pencil lines uniformly dense and vary their width to achieve differing line weights. Heavy

• Heavy solid lines are used to delineate the profiles of plan and section cuts (see pages 42 and 58) as well as spatial edges (see page 81). • H, F, HB, B • Use a lead holder or draw a series of closely spaced lines with a 0.3 mm or 0.5 mm mechanical pencil; avoid using a 0.7 mm or 0.9 mm pencil for drawing heavy line weights. • Pressing too hard to make a line means that you are using too hard of a lead. Medium

• Mediumweight solid lines indicate the edges and intersections of planes. • H, F, HB Light

• Lightweight solid lines suggest a change in material, color, or texture, without a change in the form of an object. • 2H, H, F Very Light

• Very light solid lines are used to lay out drawings, establish organizing grids, and indicate surface textures. • 4H, 2H, H, F • The visible range and contrast of line weights should be in proportion to the size and scale of a drawing. • A distinct advantage to drawing or drafting by hand is that the results are immediately discernible to the eye. When using drawing or CAD software, one selects a line weight from a menu or by specifying the width of a line in absolute terms (fractions of an inch or number of points, where 1 point = 1/72"). In either case, what one sees on a monitor may not match the output from a printer or plotter. In some programs, line weights are represented on the monitor by colors rather than differences in line width. One should therefore always run a test print or plot to ascertain whether or not the resulting range and contrasts in the line weights of a drawing are appropriate. Note, however, that if changes in line weight are necessary, it is often much easier to make them in a digital drawing than in a hand drawing. 02AG IV 2 4/9/02 9:01 AM Page 16

LINE QUALITY ARCHITECTURAL DRAFTING / 17

Line quality refers to the crispness, clarity, and consistency of a drawn line. • The density and weight of a line should be as uniform as possible along its entire length.

• Drafted lines should have a taut quality, as if stretched tightly between two points. • Avoid drawing a line as a series of short overlapping strokes. • All lines should meet crisply at corners. • When lines stop short of a corner, the resulting angle will appear to be soft or rounded. • Avoid excessive overlapping that appears out of proportion to the size of a drawing. • Dashes should be relatively uniform in length and be closely spaced for better continuity. • When dashed lines meet at a corner, a dash should continue across the angle. • A space in the corner position will soften the angle. • What one sees on a computer monitor does not necessarily indicate what one will get from a printer or plotter. Judgment of line quality in a digital drawing must be deferred until one sees the actual output from a printer or plotter. • The lines produced by vector drawing programs are based on mathematical formulas and usually print or plot better than those of raster images. 02AG IV 2 4/9/02 9:01 AM Page 17

DRAFTING TECHNIQUES 18 / ARCHITECTURAL GRAPHICS

• The point of the lead in a lead holder should have a taper about 3/8" long; if the taper is too short or too rounded, the point will dull quickly. • There are a variety of mechanical sharpeners available. If you use a sandpaper pad to sharpen leads, slant the lead at a low angle to achieve the correct taper. • 0.3 mm or 0.5 mm leads for mechanical pencils do not require sharpening. • Position your body to draw over the upper straightedge of a T-square, parallel rule, or triangle, never the lower edge. • Hold the pencil at a 45° to 60° angle; hold technical pens at a slightly steeper angle. • Pull the pen or pencil along the straightedge in a plane perpendicular to the drawing surface, leaving a very slight gap between the straightedge and the nib of the pen or the point of the pencil. Do not push the pen or pencil as if it were a cue stick. • Do not draw into the corner where the straightedge meets the drawing surface. Doing so dirties the equipment and causes blotting of ink lines.

• Draw with a steady pace—not too fast, not too slowly—and with even pressure. This will help prevent a line from feathering or fading out along its length. • To help a pencil point wear evenly and keep it fairly sharp, rotate the shaft of the lead holder or mechanical pencil between your thumb and forefinger slowly as you draw the entire length of a line. • A line should start and end in a positive manner. Applying slight additional pressure at the beginning and ending of a stroke will help accomplish this. • Strive for single-stroke lines. Achieving the desired line weight, however, may require drawing a series of closely spaced lines. • Try to keep drawings clean by washing hands and equipment often, and by lifting and moving tools rather than dragging or sliding them across the drawing surface. • Protect the drawing surface by keeping areas of it covered with lightweight tracing paper and exposing only the area in which you are working. The transparency of the tracing paper helps maintain a visual connection to the context of the drawing. 02AG IV 2 4/9/02 9:01 AM Page 18

DRAFTING TECHNIQUES ARCHITECTURAL DRAFTING / 19

• When drawing vertical lines perpendicular to the edge of the T-square or parallel rule, use a drafting triangle and turn your body so that you can draw them in a manner similar to the way you draw horizontal lines. • Avoid simply drawing the vertical lines by sitting still and sliding the pen or pencil up or down the edge of the triangle. • Drawing a series of parallel lines using two triangles is useful when the series is at some angle other than the standard 30°, 45°, 60°, or 90° angle of drafting triangles. • Position the hypotenuse of one triangle against the hypotenuse of the other and and align one side of the upper triangle with the given line. • Hold the bottom triangle firmly while you slide the other triangle to the desired positions. • To draw a perpendicular to a given line, first position the hypotenuse of one triangle against the hypotenuse of the other. • Align one side of the upper triangle with the given line. • Hold the bottom triangle firmly while you slide the upper triangle until the perpendicular side is in the proper position.

02AG IV 2 4/9/02 9:01 AM Page 19

SUBDIVIDING LINE SEGMENTS 20 / ARCHITECTURAL GRAPHICS

In principle, it is always advisable to work from the larger part to the smaller. The successive repetition of short lengths or measurements can often result in an accumulation of minute errors. It is therefore advantageous to be able to subdivide an overall length into a number of equal parts. Being able to subdivide any given length in this manner is useful for constructing the risers and runs of a stairway, as well as for establishing the coursing of such construction as a tiled floor or masonry wall. • To subdivide a line segment AB into a number of equal parts, draw a line at a convenient angle between 10° and 45° through the starting point. Using an angle that is too acute would make it difficult to ascertain the exact point of intersection. • Along this line, use an appropriate scale to mark off the desired number of equal divisions. • Connect the end points B and C. • Draw lines parallel to BC to transfer the scaled divisions to line AB. Digital Drawing

This and many other drafting techniques are programmed into drawing and CAD software. The process of working from the general to the specific, from the larger whole to the smaller parts, however, remains the same. 02AG IV 2 4/9/02 9:01 AM Page 20

CONSTRUCTING ANGLES & SHAPES ARCHITECTURAL DRAFTING / 21

We use the standard drafting triangles to construct 30°, 45°, 60°, and 90° angles. Using both 45°–45° and 30°–60° triangles in combination, we can also easily construct 15° and 75° angles. For other angles, use a protractor or an adjustable triangle. The diagrams to the left illustrate how to construct three common geometric shapes. Digital Drawing

In digital drawing, we create lines and shapes by designating geometric coordinates or specifying a combination of location, direction, and distance. Snap-to commands, grids, guidelines, and symbol libraries further aid the drawing of electronic lines and shapes.

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DRAWING CIRCULAR ELEMENTS 22 / ARCHITECTURAL GRAPHICS

• To avoid drawing a mismatched tangent to a circle or curved line segment, always draw the curvilinear element first. • Then draw the tangent from the circle or arc. • Care should be taken to match the pen or pencil line weights of circles and arcs to the rest of the drawing. • To draw an arc of a given radius tangent to two given straight line segments, first draw lines parallel to the given lines at a distance equal to the desired radius of the arc. • The intersection of these lines establishes the center of the desired arc. • To draw two circles that are tangent to each other, first draw a line from the center of one to the desired tangential point on its circumference. • The center of the second circle must lie along the extension of this line. 02AG IV 2 4/9/02 9:02 AM Page 22

3 Architectural Drawing Systems The central task of architectural drawing is representing three-dimensional forms, constructions, and spatial environments on a two-dimensional surface. Three distinct types of drawing systems have evolved over time to accomplish this mission: multiview, paraline, and perspective drawings. This chapter describes these three major drawing systems, the principles behind their construction, and their resulting pictorial characteristics. The discussion does not include media that involve motion and animation, made possible by computer technology. Nevertheless, these visual systems of representation constitute a formal graphic language that is governed by a consistent set of principles. Understanding these principles and related conventions is the key to creating and reading architectural drawings. 03AG IV 3 4/9/02 9:05 AM Page 23

PROJECTION DRAWING 24 / ARCHITECTURAL GRAPHICS

All three major drawing systems result from the way a three-dimensional subject is projected onto a twodimensional plane of projection, or more simply, onto the picture plane. • Projectors transfer points on the subject to the picture plane. These projectors are also called sightlines in perspective projection. • The drawing surface or sheet of paper is the virtual equivalent of the picture plane. Three distinct projection systems result from the relationship of the projectors to each other as well as to the picture plane. Orthographic Projection

• Projectors are parallel to each other and perpendicular to the picture plane. • Axonometric projection is a special case of orthographic projection. Oblique Projection

• Projectors are parallel to each other and oblique to the picture plane. Perspective Projection

• Projectors or sightlines radiate from a central point that represents a single eye of the observer.

Once the information for a three-dimensional construction or environment has been entered into a computer, 3D CAD and modeling software can theoretically present the information in any of these projection systems. 03AG IV 3 4/9/02 9:05 AM Page 24

PICTORIAL SYSTEMS ARCHITECTURAL DRAWING SYSTEMS / 25

Projection Systems Orthographic Projection Axonometric Projection

Oblique Projection Perspective Projection

These pictorial views are available in most 3D CAD and modeling programs. The terminology, however, may differ from what is presented here. When we study how each projection system represents the same subject, we can see how different pictorial effects result. We categorize these pictorial systems into multiview drawings, paraline drawings, and perspective drawings. Pictorial Systems Multiview Drawings

• Plans, sections, and elevations. • The principal face in each view is oriented parallel to the picture plane. Paraline Drawings

• Isometrics: The three major axes make equal angles with the picture plane. • Dimetrics: Two of the three major axes make equal angles with the picture plane. • Trimetrics: The three major axes make different angles with the picture plane. • Elevation obliques: A principal vertical face is oriented parallel to the picture plane. • Plan obliques: A principal horizontal face is oriented parallel to the picture plane. Perspective Drawings

• 1-point perspectives: One horizontal axis is perpendicular to the picture plane, the other horizontal axis and the vertical axis are parallel with the picture plane. • 2-point perspectives: Both horizontal axes are oblique to the picture plane, and the vertical axis remains parallel with the picture plane. • 3-point perspectives: Both horizontal axes as well as the vertical axis are oblique to the picture plane.

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MULTIVIEW DRAWINGS 26 / ARCHITECTURAL GRAPHICS

Orthographic Projection

Orthographic projection represents a threedimensional form or construction by projecting lines perpendicular to the picture plane. • Projectors are both parallel to each other and perpendicular to the picture plane. • Major faces or facets of the subject are typically oriented parallel with the picture plane. Parallel projectors therefore represent these major faces in their true size, shape, and proportions. This is the greatest advantage of using orthographic projections—to be able to describe facets of a form parallel to the picture plane without foreshortening. Ambiguity of depth is inherent in any orthographic projection, as the third dimension is flattened onto the picture plane. • Lines that are perpendicular to the picture plane are projected as points. • Planes that are perpendicular to the picture plane are projected as lines. • Curved surfaces and those that are not parallel to the picture plane are foreshortened. • Note that the projected size of an element remains constant regardless of how far forward or back it is from the picture plane. 03AG IV 3 4/9/02 9:05 AM Page 26

MULTIVIEW DRAWINGS ARCHITECTURAL DRAWING SYSTEMS / 27

Any single orthographic projection cannot convey facets of a subject that are oblique or perpendicular to the picture plane. Only by looking at related orthographic projections can this information be discerned. For this reason, we use the term “multiview drawings” to describe the series of orthographic projections necessary to fully and accurately describe a three-dimensional subject. • If we enclose an object within a transparent picture-plane box, we can name the images projected orthographically onto the principal picture planes. • Top views are orthographic projections cast onto the

horizontal picture plane. In architectural drawing, top views are called plans. • Front and side views are orthographic projections cast onto the vertical picture planes. In architectural drawing, front and side views are called elevations. • See Chapter 4 for floor plans and sections, which are orthographic projections of cuts made through a building. • To make it easier to read and interpret how a series of orthographic projections describes a three-dimensional whole, we arrange the views in an orderly and logical fashion. • The most common layout results when we unfold the transparent picture-plane box into a single plane represented by the drawing surface. The top or plan view revolves upward to a position directly above and vertically aligned with the front or elevation view, while the side view revolves to align horizontally with the front view. The result is a coherent set of related orthographic views. • Although these three objects have different forms, their top views appear to be identical. Only by looking at related orthographic projections are we able to understand the three-dimensional form of each object. We should therefore study and represent threedimensional forms and constructions through a series of related orthographic projections. • The mind must be able to read and assemble a set of multiview drawings to fully understand the nature of the three-dimensional subject. 03AG IV 3 4/9/02 9:05 AM Page 27

PARALINE DRAWINGS 28 / ARCHITECTURAL GRAPHICS

While orthographic projections describe a three-dimensional subject through a series of distinct but related two-dimensional views, paraline drawings convey the three-dimensional nature of a form or construction in a single pictorial view. Properly speaking, any orthographic projection is a paraline drawing. However, we use the term “paraline drawing” to refer specifically to those single pictorial views described below. Types of Paraline Drawing

• Axonometric projections can produce isometric, dimetric, or trimetric views. • Oblique projections can result in plan obliques or elevation obliques. • Unfortunately, CAD and modeling programs do not use these

terms for the different types of paraline drawings in a consistent manner. Pictorial Characteristics of Paraline Drawings

• Paraline drawings are always aerial or worm’s-eye views. • Parallel lines in the subject remain parallel in the drawing. • All axial lines—those lines parallel to the major X-, Y-, and Zaxes —are scalable. Conversely, nonaxial lines are never scalable. 03AG IV 3 4/9/02 9:05 AM Page 28

PARALINE DRAWINGS ARCHITECTURAL DRAWING SYSTEMS / 29

Axonometric Projection

An axonometric projection is an orthographic projection of a three-dimensional form that is inclined to the picture plane in such a way that its three principal axes are foreshortened. The term “axonometric” is often misused to describe paraline drawings of oblique projections or the entire class of paraline drawings. Strictly speaking, axonometric projection is a form of orthographic projection in which the projectors are parallel to each other and perpendicular to the picture plane. The difference between orthographic multiview drawings and an axonometric single-view drawing is simply the orientation of the object to the picture plane. Isometric Projection

• Isometric projection is an axonometric projection of a three-dimensional subject inclined to the picture plane in such a way that its three principal axes make equal angles with the picture plane and are equally foreshortened. Dimetric Projection

• Dimetric projection is an axonometric projection in which two of the principal axes are equally foreshortened and the third appears longer or shorter than the other two. Trimetric Projection

• Trimetric projection is an axonometric projection in which all three principal axes are foreshortened at a different rate. • Of these three, the most commonly used in architectural drawing is isometric projection. • All three axes receive equal emphasis. • All axial lines—those parallel to the principal

axes—are drawn to true length at the same scale. 03AG IV 3 4/9/02 9:05 AM Page 29

PARALINE DRAWINGS 30 / ARCHITECTURAL GRAPHICS

Oblique Projection

Oblique projection represents a three-dimensional form or construction by projecting parallel lines at some convenient angle other than 90° to the picture plane. A principal face or set of planes of the subject is usually oriented parallel to the picture plane and is therefore represented in accurate size, shape, and proportion. • For convenience, the receding lines perpendicular to the picture plane are typically drawn to the same scale as the lines parallel to the picture plane. • The receding lines may be foreshortened to 3/4 or 1/2 their true scaled length to offset the appearance of distortion. In architectural drawing, there are two principal types of oblique drawings: plan obliques and elevation obliques. Plan Obliques

• Plan obliques orient the horizontal planes of the subject parallel to the picture plane. These horizontal planes are therefore shown in true size and shape, while the two principal sets of vertical planes are foreshortened. • Plan obliques have a higher angle of view than isometric drawings. • An advantage in constructing plan obliques is the ability to use floor plans as base drawings. Elevation Obliques

• Elevation obliques orient one principal set of vertical planes of the subject parallel to the picture plane. This set is therefore shown in true size and shape, while the other vertical set and the principal horizontal set of planes are both foreshortened. • The face selected to be parallel to the picture plane should be the longest, the most complex, or the most significant face of the building or construction. 03AG IV 3 4/9/02 9:05 AM Page 30

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Perspective Projection

Perspective projection portrays a three-dimensional form or construction by projecting all of its points to a picture plane (PP) by straight lines that converge at a fixed point representing a single eye of the observer.

• While we normally see through both eyes in what we call binocular vision, perspective projection assumes we view a three-dimensional subject or scene through a single eye, which we call the station point (SP). Unlike the parallel projectors in orthographic and oblique projections, the projectors or sightlines in perspective projection converge at this station point. Pictorial Characteristics of Perspective Drawings

The converging sightlines in perspective give rise to the two principal pictorial characteristics of perspective drawings: convergence of parallel lines and reduced size with distance. • Parallel lines in the subject or scene appear to converge when they are perpendicular or oblique to the picture plane (PP). • The size of an element or object appears to decrease as it recedes from the observer. 03AG IV 3 4/9/02 9:05 AM Page 31

PERSPECTIVE DRAWINGS 32 / ARCHITECTURAL GRAPHICS

A well-drawn perspective excels in conveying the experience of being in a three-dimensional spatial environment. • The experiential nature of a perspective drawing relies on our ability to define at least three layers of depth within a scene: a foreground, a middleground, and a background. • Perspective drawings assume there is an observer located at a specific point in space and looking in a specific direction. • Multiview and paraline drawings, on the other hand, do not make reference to the point of view of an observer. We can view the drawings from various angles and be comfortable in reading the objective information. Our eyes can roam over the expanse of a plan or paraline drawing and be able to correctly interpret the graphic information. 03AG IV 3 4/9/02 9:05 AM Page 32

PERSPECTIVE DRAWINGS ARCHITECTURAL DRAWING SYSTEMS / 33

• We can use a series of perspectives—what we call serial vision—to convey the experience not only of being in a place but also of moving through a sequence of spaces.

• 3D-modeling programs often have the ability to create a sequential series of perspective views and animate a walk-through or fly-through of a building or spatial environment. There is an ongoing question regarding how to use these capabilities to simulate more effectively the way we experience space. • There is little advantage in drawing a perspective of a small-scale object, such as a chair or structural detail, unless it exists in a spatial environment. At these scales, the degree of convergence of parallel lines is so slight that a paraline view is usually a better and more efficient choice. 03AG IV 3 4/9/02 9:06 AM Page 33

COMMUNICATING DESIGN IDEAS 34 / ARCHITECTURAL GRAPHICS

We use architectural drawings to initiate, explore, develop, and communicate design ideas. No one drawing can ever reveal everything about its subject. Each pictorial system of representation provides an alternative way of thinking about and representing what we see before us or envision in the mind’s eye. The choice of a particular drawing system influences how we view the resulting graphic image, establishes which design issues are made visible for evaluation and scrutiny, and directs how we are inclined to think about the subject of the drawing. In selecting one drawing system over another, therefore, we make conscious as well as unconscious choices about what to reveal as well as what to conceal. Point of View

• Multiview drawings represent a three-dimensional subject through a series of distinct, but related, two-dimensional views. • These are abstract views that the viewer must assemble in the mind to construct an objective reality. • Paraline drawings describe the three-dimensional nature of the same subject in a single view. • These views combine the scalability of multiview drawings and the easy-to-understand, pictorial nature of perspectives. • Perspectives are experiential views that convey a sense of being present in a spatial environment. • Perspectives depict an optical reality rather than the objective reality of multiview and paraline drawings. • It is a paradox that multiview drawings are relatively easy to develop but often difficult to interpret, while perspective drawings are challenging to construct but usually easy to understand. Digital Views

A distinct advantage of digital drawing over traditional drawing

is the ability to experiment with design modifications, study alternative points of view, or try out different drawing techniques. These advantages arise from the ability to undo an action or series of operations, or to save one version of a drawing while working on a copy and return to the saved version if necessary. 03AG IV 3 4/9/02 9:06 AM Page 34

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Scale & Detail

Architectural drawings are typically executed at a reduced scale to fit onto a certain size sheet of paper, vellum, or illustration board. Even digital printers and plotters have paper size limitations. The scale of a drawing determines how much detail can be included in the graphic image. Conversely, how much detail is desirable determines how large or small the scale of a drawing should be. Digital Scale

Resizing or rescaling a set of digital data is fairly easy to accomplish. Printing or plotting a small-scale drawing that contains too much data, however, can result in an image that is too dense to read. 03AG IV 3 4/9/02 9:06 AM Page 35

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Design & Construction Drawings

In architectural design, we use drawings to convey the experiential qualities of spatial compositions and environments. Design drawings, therefore, focus on illustrating and clarifying the essential solid-void nature of forms and spaces, scale and proportional relationships, and other sensible qualities of space. For these reasons, design drawings convey information primarily through graphic means. Construction drawings, on the other hand, are intended to instruct the builder or fabricator about the implementation or construction of a design. These contract drawings, which constitute part of a legal document, often rely on abstract conventions and include dimensions, notes, and specifications. 03AG IV 3 4/9/02 9:06 AM Page 36

4 Multiview Drawings Multiview drawings comprise the drawing types we know as plans, elevations, and sections. Each is an orthographic projection of a particular aspect of a three-dimensional object or construction. These orthographic views are abstract in the sense that they do not match optical reality. They are a conceptual form of representation based on what we know about something rather than on the way it might appear to the eye. In architectural design, multiview drawings establish twodimensional fields on which we are able to study formal and spatial patterns as well as scalar and proportional relationships in a composition. The ability to regulate size, placement, and configuration also makes multiview drawings useful in communicating the graphic information necessary for the description, fabrication, and construction of a design. 04AG IV 4 4/9/02 9:10 AM Page 37

PLANS 38 / ARCHITECTURAL GRAPHICS

If we enclose an object within a transparent picture-plane box, we can name the principal picture planes and the images projected orthographically onto these planes. Each orthographic view represents a different orientation and a particular vantage point from which to view the object. Each plays a specific role in the development and communication of a design. • Plans are drawings of orthographic projections on a horizontal picture plane. They represent a view looking down on an object, building, or scene from above. • In depicting width and length but not height, plans emphasize horizontal arrangements and patterns of function, form, or space. Note especially that plans are unable to provide precise information about the vertical dimensions of forms and spaces. • All planes parallel to the picture plane maintain their true size, shape, and proportions. Conversely, all planes that are curved or oblique to the horizontal plane of projection are foreshortened. • In architectural drawing, there are distinct types of plan views for depicting various horizontal projections of a building or site: floor plans, reflected ceiling plans, site plans, and roof plans.

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FLOOR PLANS MULTIVIEW DRAWINGS / 39

A floor plan represents a section of a building as it would appear if cut through by a horizontal plane with the upper portion removed. The floor plan is an orthographic projection of the portion that remains. • Floor plans typically show the configuration of walls and columns, the shape and dimensions of spaces, the pattern of window and door openings, and the connections between spaces as well as between inside and outside. • The plane of the horizontal cut is usually located about 4 feet above the floor, but this height can vary according to the nature of the building design. • The horizontal section cuts through all walls and columns, as well as through all door and window openings. • Beyond the plane of the cut, we see the floor, counters, tabletops, and similar horizontal surfaces. Digital Plans

In 3D-modeling programs, “front and back” or “hither and yon” clipping planes, perpendicular to a vertical line of sight, can be employed to create a floor plan from a digital model. • We use a north arrow to indicate the orientation of a floor plan. The normal convention is to orient floor plans with north facing up or upward on the drawing sheet. • If a major axis of the building is less than 45° east or west of north, we can use an assumed north to avoid wordy titles for the building elevations, as “northnortheast elevation,” or “south-southwest elevation.” 04AG IV 4 4/9/02 9:10 AM Page 39

DRAWING A FLOOR PLAN 40 / ARCHITECTURAL GRAPHICS

This series of drawings illustrates the sequence in which a plan drawing is executed. Although this sequence can vary, depending on the nature of the building design being drawn, always try to proceed from the most continuous, regulating elements to those that are contained or defined by the elements. • Next, give proper thickness to the major walls and other structural elements such as posts and columns. • First, establish the major lines that regulate the

position of structural elements and walls. • A grid of centerlines is a convenient and effective means of indicating a structural or modular system. 04AG IV 4 4/9/02 9:10 AM Page 40

DRAWING A FLOOR PLAN MULTIVIEW DRAWINGS / 41

• Proceed by drawing such elements as windows, doorways, and stairways. • Finally, delineate such details as doors and door swings, stair treads and railings, and built-in furnishings. 04AG IV 4 4/9/02 9:10 AM Page 41

DEFINING THE PLAN CUT 42 / ARCHITECTURAL GRAPHICS

Critical to the reading of a floor plan is the ability to distinguish between solid matter and spatial void and to discern precisely where mass meets space. It is therefore important to emphasize in a graphic way what is cut in a floor plan, and to differentiate the cut material from what we can see through space below the plane of the cut. • To the left is the first floor plan of the Vanna Venturi House in Philadelphia, designed by Robert Venturi in 1962. It is drawn with a single line weight. • To convey depth in a floor plan, we can use a hierarchy of line weights. • The heaviest line weight profiles the plan shapes of cut elements. As a profile line, this cut line must be continuous; it can never intersect another cut line or terminate at a line of lesser weight. • Intermediate line weights delineate edges of horizontal surfaces that lie below the plane of the plan cut but above the floor. The farther away a horizontal surface is from the plane of the plan cut, the lighter the line weight. • The lightest line weights represent surface lines. These lines do not signify any change in form; they simply represent the visual pattern or texture of the floor plane and other horizontal surfaces. • Drawing scale influences the range of line weights that one can use to convey spatial depth. Smallscale drawings utilize a tighter range of line weights than do large-scale drawings. 04AG IV 4 4/9/02 9:10 AM Page 42

POCHÉ & SPATIAL DEPTH MULTIVIEW DRAWINGS / 43

We can emphasize the shape of cut elements with a tonal value that contrasts with the spatial field of the floor plan. We refer to this darkening of cut walls, columns, and other solid matter as poché. • Poché establishes a figure-ground relationship between solid matter and spatial void. • It is typical to blacken the cut elements in smallscale plans in order to clarify their figures. • If only a moderate degree of contrast with the drawing field is desired, use a middle-gray value to emphasize the cut elements. This is especially important in large-scale plans, when large areas of black can carry too much visual weight or create too stark a contrast. • If such plan elements as flooring patterns and furniture give the field of the drawing a tonal value, a dark gray or black tone may be necessary to produce the desired degree of contrast between solid matter and spatial void. Digital Poché

When using drawing or CAD software to create floor plans, avoid using colors, textures, and patterns to make the drawings more pictorial than they need to be. The primary emphasis should remain on articulating the plan cut and the relative depth of elements below the plane of the cut. 04AG IV 4 4/9/02 9:10 AM Page 43

DOORS & WINDOWS 44 / ARCHITECTURAL GRAPHICS

We are not able to show the appearance of doors in a plan view. For this information, we must rely on elevations. What a floor plan does show, however, are the location and width of door openings, and to a limited degree, the door jambs and type of door operation—whether a door swings, slides, or folds open. • Draw a swinging door perpendicular to the plane of the wall opening and note the door swing with a quarter circle drawn lightly with a circle template. Be sure that the door width matches that of the door opening. • Show the thicknesses of doors and door jambs at the scale of 1/4" = 1'-0" or larger. • Canopy may be straight or curved. •